The internationally acclaimed mezzo-soprano Olesya Petrova has a warm, round voice with excellent low, middle and top notes. She is charismatic, with a marvellous stage presence.


Her most recent and future highlights include among others:

  • Amneris/Aida at the MET, at the ROH Covent Garden, at Arena di Verona, and at Mikhailovsky Theatre;
  • Azucena/Il Trovatore, Ulrica/Un Ballo in maschera, La Frugola/Il Tabarro and Madelon/Andrea Chénier at the MET;
  • Ulrica/Un Ballo in Maschera at Deutsche Oper Berlin and at Teatro Maestranza Seville;
  • Fortune-teller/The Fiery Angel at Teatro Real, Madrid;
  • Countess/The Queen of Spades and Ulrica/Un ballo in maschera at Mikhailovsky Theatre;
  • Jezibaba/Rusalka at Opéra Royal Wallonie de Liège;
  • Azucena/Il Trovatore in Rovigo and Treviso;
  • Azucena/Il Trovatore (concert version) and Verdi’s Requiem w. Auckland Philharmonic;
  • Kozlovski’s Requiem with Singapore Symphony Orchestra;
  • Verdi’s Requiem with Maestro Fabio Luisi and NHK Symphony Orchestra in Tokyo, at Casa da Música Porto, and at Bratislava Festival w. Maestro Villaume, Alieva, Costello and Belosselskiy;
  • Mahler’s Lied von der Erde with RTVE Orchestra in Madrid;
  • Soloist in Prokofiev’s Alexander Nevsky w. Basque National Orchestra, Spain;
  • Mahler’s Symphony 3 and Symphony 8 with Maestro Fabio Luisi and NHK Symphony Orchestra in Tokyo;
  • the cantata Alexander Nevsky with the Latvian National Symphony Orchestra (online concert);
  • a soloist in Arena di Verona’s PR concert at Carnegie Hall (New York).


Since 2016 Olesya Petrova has been a soloist at the Mikhailovsky Theatre, where she performs the roles of Ulrica/Un ballo in maschera, Santuzza/Cavalleria rusticana, and the Countess/The Queen of Spades among others.

Other engagements in recent seasons include Amneris/Aida at San Diego Opera; Azucena/Il Trovatore at Opera Østfold; Verdi’s Requiem with Teatro San Carlo di Napoli in Salerno and with Mehta at The Israel Philharmonic Orchestra in Tel Aviv; Missa Solemnis with Orchestra Cadaques Barcelona w. Maestro Noseda.

In 2018 she made her debut at the Bolshoi Theatre of Russia, performing the role of Polina in a production premiere of The Queen of Spades (conducted by Tugan Sokhiev and directed by Rimas Tuminas).

In 2007–2016 she was a soloist with the Opera and Ballet Theatre of the St Petersburg Conservatory.

In 2014 Olesya Petrova made her debut at the Metropolitan Opera in a production of Andrea Chénier in the role of Madelon; she has also sang the voice of Antonia’s mother/Les Contes d’Hoffmann, Frederica/Luisa Miller, Amneris/Aida, Maddalena/Rigoletto, Konchakovna/Prince Igor, and Marfa/Khovanshchina.

As a guest soloist, she has appeared with the Greek National Opera (Ulrica/Un ballo in maschera and Suzuki/Madama Butterfly), the Opernhaus Zürich (Konchakovna/Prince Igor), the Latvian National Opera (Azucena/Il trovatore and Amneris/Aida), the Hamburger Staatsoper (Mrs. Sedley/Peter Grimes and Federica/Luisa Miller), Madrid’s Teatro Real (Amelfa the Housekeeper/The Golden Cockerel), Barcelona’s Gran Teatre del Liceu (Emilia/Otello), the Opéra de Montréal (Fenena/Nabucco and Amneris/Aida), the Perm Opera and Ballet Theatre (Joan/The Maid of Orleans and the Duenna/Betrothal in a Monastery) as well as at the Arena di Verona Festival.

In 2016 Olesya Petrova performed the role of Marguerite/La Damnation de Faust in an anniversary concert by the Latvian National Symphony Orchestra (conducted by Vassily Sinaisky).

Her concert repertoire includes the mezzo-soprano roles in cantatas by Bach, Handel’s oratorio Messiah, Pergolesi’s Stabat Mater, Mozart’s Requiem and Krönungsmesse, Rossini’s Petite messe solennelle, Beethoven’s Ninth Symphony, Verdi’s Requiem, Mahler’s Second, Third and Eighth Symphonies and Das Lied von der Erde and Kindertotenlieder, Prokofiev’s cantata Alexander Nevsky and Penderecki’s Morning Prayer in addition to song cycles by Wagner, Berlioz, Mahler, Mussorgsky and Schnittke.

Olesya Petrova collaborates with many theatres, concert halls, orchestras, and chamber ensembles around the world and has worked with Giordano Bellincampi, Emmanuel Villaume, Valery Gergiev, Leo Kremer, Fabio Mastrangelo, Vladimir Fedoseev, and other renowned conductors.


Olesya Petrova graduated from the St. Petersburg State Rimsky-Korsakov Conservatoire in 2008, class of Professor Irina Bogacheva.


  • Prize-winner at the II Paris Opera Competition (2012; 1st prize and Audience Award)
  • Finalist at the BBC Singer of the World competition (Cardiff, 2011)
  • Prize-winner at the XIII Tchaikovsky International Competition (Moscow, 2007; 2nd prize)
  • Prize-winner at the I Galina Vishnevskaya International Opera Singers Competition (Moscow, 2006; 2nd prize)


Olesya Petrova – Requiem by G. Verdi – Liber Scriptus, 2021

Olesya Petrova – The Garden is all in bloom by Anton Arensky, 2022

Olesya Petrova – Condotta/Trovatore + O Don Fatal/Don Carlo w. Mehta in Tel Aviv, July 2019

Olesya Petrova – Samson et Dalila by C. Saint-Saëns – Dalila’s aria

Olesya Petrova – Quietly Evening Falls by Nikolay Rimsky-Korsakov, 2022

Olesya Petrova – Requiem by G. Verdi – Recordare, Jesu pie

Olesya Petrova – Il Trovatore by G. Verdi – Stride la Vampa – 2017


Adriana Lecouvreur – Deutsche Oper Berlin (Sept. 2019)

“The Princess of Bouillon, Adriana’s rival, was Olesya Petrova; her powerful mezzo had the metallic quality typical of Slavic voices, but her high notes resulted round and bright. Her interpretation was very successful, and she got the largest applause stopping the show, after her opening aria “Acerba voluttà”. ”

– Laura Servidei,

Luisa Miller – The Metropolitan Opera, New York (Apr. 2018)

“The warm-toned mezzo-soprano Olesya Petrova (as Federica, the noblewoman who loves Rodolfo) meets her role’s most important requirement: She strides commandingly down the gigantic staircase of Santo Loquasto’s sturdily old-fashioned set.”

– Zachary Woolfe, New York Times

Cardiff Singer of the World competition – St. David’s Hall, Cardiff

“The velvet richness of Olesya Petrova’s mezzo is a voice the operatic world needs more urgently, and both the authenticity of her Rimsky-Korsakov aria and intensely vivid Verdi showed her to be a great prospect.”

– Rian Evans, The Guardian